“Magda László was a Hungarian operatic soprano particularly associated with 20th-century operas. She studied at the Franz Liszt Academy of Music in Budapest, and made her début at the Budapest Opera in 1943, as Elisabeth in TANNHÄUSER, later singing Amelia in SIMON BOCCANEGRA.

In 1946, she settled in Italy, where she appeared in concert often with pianist Luigi Cortese, later becoming a regular guest at the Rome Opera and La Scala in Milan. She created the role of the mother in Dallapiccola's IL PRIGIONIERO on Italian radio in 1949, and also sang the part in the first staged performance in Florence, the following year, on20 May, 1950. A fine-singing actress and musician, she sang several parts in Italian contemporary works by Malipiero, Ghedini, and Lualdi. She made guest appearances at the Glyndebourne Festival, notably in 1953, as Gluck's ALCESTE, in 1954, as Dorabella in COSĚ FAN TUTTE, in 1962, as Poppea in Monteverdi's L'INCORONAZIONE DI POPPEA. In 1954, she created the role of Cressida in William Walton's TROILUS AND CRESSIDA, at the Royal Opera House in London. Other notable roles included Strauss's Daphne, Busoni's Turandot, Marie in WOZZECK, and Senta. László also recorded a number of the Bach cantatas under Hermann Scherchen.”

“Carlo Tagliabue’s début was 1921 in Lodi as Amonasro. After several appearances in various theatres he came to La Scala in 1929 at Toscanini’s behest. He appeared in 39 different rôles at La Scala alone. His conductors were de Sabata, Serafin, Guarnieri, Votto, Marinuzzi and Karl Böhm (who admired him as Wolfram). Further stations of his career were the Arena di Verona, Rio de Janeiro, San Paolo, Lisbon, Wiesbaden and Vienna. In 1936 he sang at Covent Garden in a Gala performance on the occasion of the coronation of George VI. For two seasons he appeared at the Met as Rigoletto, Amonasro and Marcello. His home remained La Scala, he belonged to its ensemble for more than 30 years until his farewell in a performance of LA TRAVIATA with Maria Callas and Gianni Raimondi in 1958.

I admire the beauty and warmth of his voice and his phenomenal breath control. It is a pity that he was not able to record before 1939! He had to compete with baritones like Viglione-Borghese, Stracciari, Urbano and Galeffi! Very important his participation in two of icomplete recordings of IL TROVATORE (Previtali) and LA FORZA DEL DESTINO (Marinuzzi).”